By Dave Swanson - Summit FM Contributor

There must be something in the air aside from Canadian smoke as we sit here in 2023, (and don’t blame Geddy and Alex, they only stop for the best). It's barely July and there have been two cover versions released this year, of the 1972 Osmonds’ classic 'Crazy Horses'.

A few weeks ago, Cleveland proto-punk pioneers Pere Ubu, released their own unlikely Avant-garage singed version and last week, we were treated to a take by the one and only Dictators, CBGB punk legends who recently reformed. Who knew the wrath of the Osmonds was coming down so heavy in 2023?! So, what brought the Dictators around to covering this song in 2023? "We wanted a true hard rock version," Dictators' guitarist Ross The Boss told the Summit. "The Osmonds’ version wasn’t heavy enough for us. We fixed that!"

For those not paying attention, in 1972, the Osmonds released the album 'Crazy Horses'. All songs were self-penned, performed and produced by the brothers. The album and single both hit No. 14 on the Billboard charts and made Top 10 elsewhere around the globe. From the opening stomp and signature shriek (often thought to be a Theremin but in actuality was a setting on Donny's keyboard!) straight into the almighty heavy riff of the song, it was clear the boys meant business.

"Before that, my brothers and I had been what's now called a boy band: all our songs were chosen for us by the record company," recalled Merrill Osmond in a 2018 interview with Billboard Magazine. "But now, having been successful, we wanted to freak out and make our own music. We were rehearsing in a basement one day when Wayne started playing this heavy rock riff. I came up with a melody and Alan got the chords. Within an hour, we had the song."

Freak out indeed! The entire album is loaded with what can only be described as 'heavy rock' songs. From the Zeppelin-ish riff of 'Hold Her Tight' to the boogie stomp of ' Hey Mr. Taxi,' it's a long way from 'One Bad Apple' in a very short period of time. Another interesting footnote, the album was co-produced by Michael Lloyd, one time member of underground psychedelic band the West Coast Pop Art Experimental Band and baroque garage/pop group, October Country.

The song looms large among underground music enthusiasts as it is so out of character for the Osmonds. It's one of those records you can play for someone, tell them who it is, then watch their face drop in disbelief. These new cover versions; however, are only the most recent. There have been several over the years. The Sensational Alex Harvey Band put their stamp on it back in 1976. We've also had versions by the Goth popsters the Mission, metal mongers Tank, industrial merchants KMFDM, and LA rock legends Redd Kross (under the moniker Revolution 409)

The funny thing here is, no matter how good some of these cover versions are, not one of them captures the power and glory of the original! “We had a wall of Marshalls in the studio. It was so loud that you couldn't even walk in the studio,” Donny recalled in 2021 in Songwriter magazine. The original had the exact right groove, tempo and production to push it over the top, hence, the reason we're talking about this ode to ecology over 50 years later. 

"'Crazy Horses' was way ahead of its time," Jay Osmond told The Guardian in 2017. "It's a song about ecology and the environment: those 'crazy horses, smoking up the sky' are gas-guzzling cars, destroying the planet with their fumes. We shot the record sleeve in a junkyard, surrounded by big old cars."

The Osmonds next move on the road to establishing their own presence away from boy band terrain, was a concept album called 'The Plan,' but that dear friends, is another story for another time.

By Dave Swanson, Summit FM Contributor

Yeah, we know, it's an Akron thing!

Truth be told, it's waaaay more than that! DEVO were, and still are, one of the most unique, adventurous, clever and exciting bands ever! Crawling out of their art students' hiding place at Kent State University back in the early 1970s, DEVO had a vision, both musical and ideological, that stemmed from the observation that we as a people were not evolving, but rather de-volving. Pretty heady and forward-thinking stuff for a world mired in political and student assignations, war, hippie culture and highly questionable politics.

DEVO was, first and foremost, a 'pop' group. But their brand of pop music was served with the most twisted attributes possible. Their look and sound were a sort of Neanderthal futurism, yet, with a catchy tune at the core. After several legendary live performances along with homemade films and audio recordings, DEVO were becoming an actual band and not just a concept.

Their film, The Truth About De-Evolution, had attracted some attention within underground circles as had their first single, "Mongoloid" b/w "Jocko Homo." Word was spreading about this weird band from the bowels of Akron, Ohio and soon, they found themselves signed to Stiff Records in the UK. From there it was only a matter of time as from the lips of David Bowie to Brian Eno's ear, DEVO were making their legendary debut album for Warner Brothers. Released in the summer of 1978, DEVO were not easy to ignore. Their appearance on Saturday Night Live to promote the album is the stuff of legend -- and rightfully so.

From start to finish, the album is packed with great songs and genius moments that somehow still sound 'modern' and fresh 45 years down that road which, in many cases, has only proved that de-evolution theory more correct than ever! The thrill of blasting "Uncontrollable Urge," "Mongoloid," or "Come Back Jonee" at full volume has yet to wear off, so please do just that as we celebrate a milestone in pop music by these hometown heroes. The album turns 45 years old this week!

Truly essential and then some!

Tune into The Summit FM all day Thursday, July 6 to hear tracks from Are We Not Men as our Summit Album Essential of the week.

By Laura Smiley - Summit FM Sales Director

Physical activity is key to improving our health. Based on the latest science, the Physical Activity Guidelines for Americans is a flagship resource that provides recommendations on how everyone can improve their health through regular physical activity. Learn ways to understand the benefits of physical activity and exercise and how to make it a part of your regular routine.

The Physical Activity Guidelines for Americans provides evidence-based guidance to help you maintain or improve your health through physical activity.

Click here to download the Physical Activity Guidelines from Health.gov

JD Eicher is an Ohio musician known for expressive vocals and meaningful, carefully-crafted songs. He possesses “an original voice, both literally and figuratively. With a lyrical talent culled from the great tradition of American singer/songwriters, Eicher also brings the melodic sensibility of great British songwriters such as Paul McCartney and Elvis Costello." (Wildy's World)

With several full-length albums to his credit, JD was enlisted to create the soundtrack to bestselling author Nicholas Sparks’s (The Notebook, A Walk To Remember) 20th novel, Two By Two. Eicher’s song of the same name - “Two By Two” - was played on Good Morning America, and Eicher and the song are referenced in the novel.

He has since gone on to write his own novel and companion album (The Lights Along Majesto and the album, Majesto Sessions) and continues his trend of being a go-to producer for bespoke and special project music.

A musician who tours extensively in the US, Eicher has shared billing with a wide range of well-known acts, including Coldplay, Maroon 5, Train, The Fray, Matt Nathanson, Sister Hazel, Red Wanting Blue, and more.

The Summit FM reminds you that the best way to support the musicians you love is by buying merch directly from the artist!

Visit JDEicher.com for more information.

By Dave Swanson - Summit FM Contributor

Ask a handful of different people to describe the music of the 1980s and odds are good you'll get as many different answers as people. From rappers and ragged punk leftovers to the shiny MTV stars, to the metal brigade, to the slick urban contemporary and twang laden pop music -- there was a lot to take in. Some good stuff, but a lot of junk as well.

In the Northwest, things were brewing and a couple bands were showing themselves as 'stars of tomorrow'. Mother Love Bone had all the trappings of 'major league rock stars' but their junkie leader cashed in his chips before they got off the ground. Meanwhile Green River were trying to be the leaders of the pack but were finding it hard to balance their punk roots with arena rock dreams. The obvious happened and the band split in two.

The bands that emerged from this great divide were Pearl Jam, formed by guitarist Stone Gossard and bassist Jeff Ament. Perhaps you’ve heard of them? While the more flippant rebels, singer Mark Arm and guitarist Steve Turner, stayed true to their punk roots forming Mudhoney.

Named after a cult classic Russ Meyer film, Mudhoney was primed for maximum rock and roll action. They were one of the first bands to be saddled with the 'grunge' label, and the first to gain real national attention. With the addition of drummer Dan Peters and bassist Matt Lukin, they recorded their debut single for Sub Pop. Recorded in July of 1988 and released a month later, the now classic 'Touch Me, I'm Sick,' b/w 'Sweet Young Thing Ain't Sweet No More' was the world's introduction to Mudhoney.

The single took college radio by storm, selling out the initial pressing ot 1000 copies and helping establish Sub Pop as the new hot label of the time. One listen 35 years later proves what all the fuss was about. The power and glory of the songs still resonates like a fresh punch in the gut. While both songs were rooted in a sort of 70s punk meets 60s garage approach, there was something distinctly different about Mudhoney compared to the bulk of the 'grunge' brigade. 

While acknowledging influences like Dead Boys, the Sonics, Blue Cheer and Billy Childish, they always had their own identity with high-octane energy and a healthy sense of humor propelling them.

A long run of singles and albums would follow for the next several years. The band eventually signed to Warner Bros. before ultimately returning home to Sub Pop. Obviously, many of the other bands of the Seattle scene would go on to eclipse Mudhoney commercially, but Mudhoney, in many ways, have the last laugh.

They have stayed true to, while expanding upon, their original vision, remaining the misfits they always were. They are still out there making new music -- in fact, their latest single, 'Little Dogs,' has been getting regular spins here at the Summit! Three cheers for Mudhoney!

By Dave Swanson - Summit FM Contributor

After six years of consistently upping their game, the Police entered 1983 somewhat on top of the world. Each previous album was more successful than the one before it, they were on the radio, on MTV, and selling out concerts. Their unique hybrid of pop, rock and reggae varnished with a punk energy had proved a winning combination scoring hits such as "Roxanne," "Message in a Bottle," "Don't Stand So Close To Me," and "Every Little Thing She Does Is Magic." There was nowhere to go but up!

Released in the summer of 1983, Synchronicity would serve as not only the band's biggest seller but their swan song. Talk about going out on a high note! The album hit No. 3 on the Billboard charts and went Top 10 around the globe. Stylistically the album brought in a new angle on the band's sound. The man behind the board on Ghost In The Machine, the ever talented Hugh Padgham was brought back as the band decided a bigger but less cluttered sound would mark this album.

That approach was the ticket as the singles ''King Of Pain," "Wrapped Around Your Finger" and "Every Breath You Take" all gracing the Top 10 with the latter claiming the number one spot -- their only chart topper!

After the Synchronicity tour the Police took a well-deserved break which, sadly, turned into the demise of the band. A few live shows and some failed attempts to record another album only showed the band the writing on the wall -- that their time was indeed done. But what an amazing run of music!

In 2007, a highly succesful reunion tour surprised and thrilled Police fans, but as of now, that is the end of the story. On this, the 40th anniversary of Synchronicity, we bring it to you as another 'essential,' though that could be said about pretty much every Police album! Enjoy!

Tune into The Summit FM all day Thursday, June 29 to hear tracks from Synchronicity as our Summit Album Essential of the week!

Meet Bill & Arlene Hazlett of West Akron. Bill & Arlene are members of the Guitar Club and volunteer with The Summit FM on a regular basis. Not only do they volunteer in the office stuffing envelopes, but they also help at events too!

Bill & Arlene are long-time members of the Summit FM and -- fun fact -- are the parents of Development Director Michelle Charles! Bill is a retired public-school teacher and current professor at the University of Akron. Arlene is retired and spends her days quilting and listening to the Summit.

In their spare time, Bill & Arlene love to hike and volunteer for the Summit Metro Parks. They also love to hear their favorite local artists at the various venues around Akron. Arlene says that her favorite artist that she discovered on the Summit FM is Josh Ritter and her favorite local artist is The Labra Brothers. 

Would you like to become a Summit FM Volunteer? Click here for more information!

Summit Sustaining Members got an exclusive invite to visit the Rock & Roll Hall of Fame with the band Milky Chance this past Wednesday, June 21st! The band hails all the way from Germany, so they were very excited to tour the museum!

They played at Nautica later that night with Talk and Young The Giant.

Become a Summit FM Member for exclusive opportunities like this one! Click here to learn more.

By Dave Swanson - Summit FM Contributor

It's funny how people like to remember and or write the history books in neat orderly form, as if there were definitive starting points and ending exclamations. This all makes for fine reading and or storytelling, but the truth is never that definitive. The truth is much more fluid with various things going on simultaneously, overlapping one era into another, and so on.

1973 was a banner year for all things prog, glam and trad. Yes, ELP, the Who, Stones, Pink Floyd and solo Beatles were all happening in a big way that year. Eagles had taken flight along with Skynyrd and others who would soar even higher as time moved on. 1973 seemed a different world from changes that would take place over the next few years but a foursome from NYC were overlapping, creating their own little world that would eventually blossom into a local then worldwide movement.

In 1972, guitarist/songwriter Tom Miller had become fast friends with fellow musician Richard Meyers. With little experience, these aspiring New York City rebels decided to form a band. Friend Billy Ficca was added on drums and the trio became the Neon Boys with Miller, rechristened Verlaine on lead guitar and Meyers recast as Richard Hell on bass. The Neon Boys sound was minimal, especially compared with what was happening above ground. Rooted in the raw style of early Rolling Stones, Pretty Things, Velvet Underground, and others, the Neon Boys were delivering music that would become much more commonplace as the next few years unfolded.

The Neon Boys weren't alone in this realization that raw rock and roll was not lost on all. The Modern Lovers in Boston, though a bit more polished, had the same energy and sensibility, while Mirrors were a hidden treasure in Cleveland who, with the Velvet Underground as their guide, dished out their own garage chaos long before Ramones were a household name.

By spring of 1973 Hell had recruited Richard Lloyd on second guitar to complete the line-up who had adopted the new moniker of Television. The foursome was amped up and ready to 'prove it' to whoever would listen, but they found themselves without a venue to perform. Their manager was an aspiring music mogul named Terry Ork, who, within two years, would start his own label, the influential Ork Records. Ork went about finding a place for his new band to play and stumbled upon a new bar on the bowery. Formerly a biker hang out that had just recently been bought by a guy named Hilly Kristal and reinvented as CBGB & OMFUG.

Country, Bluegrass, Blues, and other Music for uplifting Gormandizers was what that batch of seemingly random letters stood for. This was Hilly's vision for what the tavern would feature, but ultimately, of course, it was the musicians who would give the club its identity. Television was the first of this new breed of bands to adopt CBGB as home away from home. In short order Ramones, Blondie, Talking Heads, Dictators and many more would also embrace this dive on the Bowery making it the unlikely springboard for an entire movement.

Television carried on developing their style despite losing founding member Richard Hell in 1975, who went on to form another classic band, the Voidoids. Demos were recorded and though those demos were often credited as being produced by Brian Eno, it depends on who you talk to. Ultimately it seems Eno's involvement was minimal and ultimately, the band didn't use them.

With bassist Fred Smith now in the lineup, Television recorded their debut single. Released in 1975 by Ork Records, 'Little Johnny Jewel,' somewhat kickstarted the idea of independent labels of that era. The single got good press but ultimately failed to live up to what the band were truly capable of.

Another year of treading the boards at CBGB and the band were signed to Elektra Records. With the solid twin guitar power of Verlaine and Lloyd atop the powerhouse rhythm section of Ficaa and Smith, Television would emerge from the fog of those early days with the forever classic album, 'Marquee Moon.' Released in 1977, it stands as a monument of creativity and perseverance.

They had no idea at the time, but these scrappy kids with rock and roll, poetry and art on their minds set something in motion back in 1973 that still produces ripples 50 years on. At the risk of horrible cliche, this was one Television that should be turned on.